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Reading Joyce in and out of the Archive WIM VAN MIERLO

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Reading Joyce in and out of the Archive WIM VAN MIERLO Reading Joyce in and out of the Archive WIM VAN MIERLO Joyce's works have been blessed—some might say: burdened—with a vast body of critical writing. While that body of writing is not all academic—it began with a good number of critical appreciations by Joyce's friends, supporters and acolytes in literary journals and book length studies that appeared alongside book reviews and critical notices in the popular press—it is certainly worth reflecting on how academic writing has shaped and guided the reception of Joyce's œuvre. That this is not purely an academic question is contained in the fact that readers (whether they belong to that first generation of readers puzzled by Joyce's radically modernist style in the thirties and forties or to the vast class of Joyce enthusiasts and graduate students who struggle with the allusive detail or narrative and intertextual complexity of the later writings) so often approach Joyce through the critics.1 Sifting through the various responses to academic Joyce criticism, a striking paradox emerges: on the one hand, an utterly hostile dismissal of Joyce criticism, amounting to a veritable industry with all its connotations of being overbearing and overproduced, comes from readers who find it hard to cope with the abstruse, self-indulgent discourse of academic criticism; on the other hand, the continuing use of "classics" of Joyce criticism, such as Ellmann's biography, Gifford's and McHugh's annotations, Kenner, Hayman and Hart, Glasheen, Atherton, Campbell and Robinson, Tyndall and so on, follows from many readers' feelings of inadequacy to confront Joyce's complicated works on their own terms. (When Morris Ernst, the attorney in the 1933 United states v. Ulysses trial, was questioned by Judge Woolsey whether he had read the novel, Ernst denied, explaining that he could not make sense of it: "This was before glossaries and instructional aids had been published" [Ernst 71].) Is the fact that they are "classics" perhaps a redeeming quality? In the light of the history of Joyce studies and of Joyce's reception, it is worth considering just what kind of reception these critical works themselves were given and how they have impacted readings and perceptions of Joyce in general. My aim, however, is not to review great classics of Joyce scholarship, nor is it my purpose to write the history of the Joyce industry in its various emanations or the genesis of various foundations or critical projects. Others beside myself are far better positioned to do so.2 Instead, I want to historicize certain moments in Joyce studies by investigating how particular exponents of that critical industry, in particular those that involve archival research 1 While this is perhaps a commonplace observation about the role of secondary criticism, the extent to which Joyce's academic critics have influenced is reception has not been fully documented. The role of literary criticism, for Instance, emerges as having been quite significant in the history of Joyce's European reception, see Lernout and Van Mierlo, eds., The Reception James Joyce in Europe. 2 In the past five to ten years, the Joyce industry has turned particularly self-reflexive with the appearance of a large number of studies on the reception of Joyce’s writing and the disciplinary history of Joyce studies and the International James Joyce Foundation. I am thinking here, among others, of Charles Rossman, "The Critical Reception of the Gabler Ulysses’ (1989 and 1990); Geert Lernout, The French Joyce (1990); Jeffrey Segal, Joyce in America (1993); Joseph Kelly, Our Joyce: From Outcast to lcon (1998); Fritz Senn, "The Joyce Industrial Revolution According to one European Amateur" (1998); Michael Groden, "Perplex in the Pen—and in the Pixels: Reflections on The James Joyce Archive, Hans Walter Gabler's Ulysses, and James Joyce's Ulysses in Hypermedia" (1999); a special issue of Joyce Studies Annual 2001; and Geert Lernout and Wim Van Mierlo, eds., The Reception of James Joyce in Europe (2004). in one form or other, have influenced or (also) have been silenced by the Joyce community. My aim in this essay is also very much to advocate a revalidation of those archival investigations. What exactly constitutes an archive and how it is put together is an interesting set of historical questions in its own right, and although they bear on the kind of issues I want to review, these questions do not concern me here in detail. For my purposes, I loosely and broadly define archival studies as any kind of research that uses documentary materials other than Joyce's works, whether they are actual archives in libraries, facsimile reproduction of manuscripts (as in the James Joyce Archive), or any other material source that is part of the general exegesis of or contributes to a contextual understanding of Joyce's writing. The term "context" itself is traditionally taken to signify any space anterior to the text; I use it here to mean any of the historical circumstances or conditions that determine or are determined by the text in its material form. Likewise, it is important to note, too, that the term exegesis is generally understood to be a form of ahistorical interpretation that is equated in most guidebooks with explication and close reading, but throughout this essay I give it back its original sense of historical gloss.3 The underpinning motivation of my essay is thus to ask what Joyceans do with the past that is Joyce's writing. Joyce, I contend, is not our contemporary; he is a writer from the past whose works need to be understood within the history from which they materialized. In the past ten years various aspects of a "material" Joyce have indeed seen the light of day, such as the reception, readership, composition, and publication history of his writing as well as his use of popular culture and his relationships— literary and political—to the Irish question. At a moment in Joyce's academic reception when academic interest has turned to historicized approaches to his work, it would appear common sense to consider Joyce a writer of the past. But if we look at the state of Joyce criticism today or over the past forty years such simple rationalization is either too plainly obvious or does not come natural at all. That Joyce studies suffer from "a sort of historical amnesia" (Segall 49) follows from a habit to take his literary reputation for granted. One way to properly assess his pastness is by looking at the history of the production and reception of his writing, at the critical and scholarly efforts that went into constructing the image (or images) of Joyce that we now know. But here lies the problem that I want to address. On the one hand, Joyce criticism has 3 In twentieth-century criticism, there seems to be a confusion between method (close reading) and goal (glossing the text), between a broad and a narrow sense of explication, that causes us to overlook the historical nature of exegesis. Undoubtedly, glosses and annotations come about through close reading of the text, but their historicity manifests Itself on various levels: as a form of "timely reading," exegetical notes record the ideas, observations, and knowledge of contemporary annotators or of annotators who try to bridge the gap in time between the author and themselves; as marginalia (in the Biblical tradition) or as annotations (in the literary tradition), exegetical notes become part of the life and the reception of the book across the generations. Exegesis, In other words, 1s concerned with origins, the meanings a text held for its author and its original audience, prompting us to recognize the "temporal distance" between ourselves and the text at hand, whereas literary interpretation is concerned with the meanings a text holds for the current audience and with the work of art as a timeless object (Noakes 11-12). In Timely Reading: Between Exegesis and Interpretation, Susan Noakes argues that any separation of exegesis and interpretation results in a reductive reading experience (241-42) been largely responsible for promoting a timeless vision of Joyce; Joyce scholarship, on the other hand, by the very nature of what it does, considers historical questions. But since it very often treats the man rather than the writing, scholarship does not always find good favor with literary critics. In order to recognize Joyce's pastness, therefore, we must recognize the critical value of scholarship and bridge the gap between critic and scholar. Criticism and scholarship have been and continue to be regarded as antithetical terms in literary studies, where one deals with the "higher" and "nobler" endeavor of interpretation and evaluation (the "intrinsic" values of literature), and the other with the "lower" and preparatory task of objective research and facts (the "extrinsic" parts of literature). This qualitative separation between criticism and scholarship dates back to the 1890s, but (ironically) it was instigated by the philologists in the English departments, who resisted the dilettantism of a number of "generalist" critics (Graff 94-96) and, stressing their own prominence, argued that journalistic generalizations about literature were interesting but unfounded. Both parties, however, were vying for the Arnoldian legacy of cultural relevance, a battle the scholars were apt to lose because they had a harder time proving that their highly specialized, "technocratic" analyses had any direct effect on the broader culture (Graff 4). By the 1920s and '30s, at the beginning of the New Criticism, the "generalists" had managed to consolidate their position in the university. At the same time, as research scholars themselves became frustrated over the increasing fragmentation of English into ever-narrower subdisciplines, they conceded there was a time and place for criticism as long as the necessary groundwork had first been laid (Graff 137, 143).
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